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Project Proposal - Amplification Site: A Cross Echoin a Private Living Space 扩音现场:一个私人生活空间的交叉回声
Yong SHI 施勇
Shi Yong
The front page of the proposal (the first page of the file) includes a few selected photographs of the artwork as well as its caption. The back side of the proposal (the second page) records the designed graphics for the artwork, along with explanatory side-notes (mainly in Chinese). (Jerry Wu'23).
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Resume 2: SONG Dong
Dong SONG 宋冬
Song Dong
This resume includes a bibliographical account of SONG in both Japanese and English. An image of his work "A Command by Genghis Khan" is also included. (Jerry Wu'23).
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Review: Three Cultures
Ping TAN 谭平
Sasha Grishin
This exhibition review is scripted in English. It was published in periodical "Art Monthly Australia" in 1995 (July issue). (Jerry Wu'23).
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Review: On WANG GongXin's Sky of Brooklyn
Gong-Xin WANG 王功新
YI Ying
This review of GONG's work is scripted in Chinese. The article was published in journal "世界美术" in February, 1995. (Jerry Wu'23).
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Review: Halle im Papierkleid
Gong-Xin WANG 王功新
This review is scripted in German. It was published in August, 1995. (Jerry Wu'23).
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Review(s): Ying und Yand AND Haus aus Stein, Haut aus Papier
Gong-Xin WANG 王功新
Karin Stellwaag and Ulrich Bauer
This review compile consists of two separate reviews: "Yin und Yang" by the left half of page, and "Haus aus Stein, Haut aus Papier" at the right. Both articles were published in 1995, in August and September respectively. Hand-written notes are added by the articles' bottoms to give further citations. (Jerry Wu'23)
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Exhibition Poster: New Asian Art Show - 1995
Guang-Yi WANG 王广义
Kirin Plaza Osaka
The front page of the poster (first page of the file) lists the exhibition's logistics as well as participants. The back page (second page of file) features a brief introduction to the exhibition. The poster is scripted in Japanese. (Jerry Wu'23).
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Resume: WANG JianWei
Jian-Wei WANG 汪建伟
Wang JianWei
This resume of WANG is scripted in English and Chinese. Hand-written additions/amendments are added. Note that this resume is assumed to be composed in 1995 give the due date of this file's submission and the last activity in the resume listed. (Jerry Wu'23).
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Resume 2: Wang JianWei
Jian-Wei WANG 汪建伟
Wang Jianwei
This brief resume of the artist is scripted in Japanese and English. Several selected works of the artist are displayed as images. (Jerry Wu'23).
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Resume 3: WANG JianWei
Jian-Wei WANG 汪建伟
Wang Jianwei
This resume is scripted in English. Note that this resume is assumed to be composed in 1995 give the due date of this file's submission and the last activity listed in the resume. (Jerry Wu'23).
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Resume: WANG Jin 王晋
Jin WANG 王晋
Wang Jin
This resume is scripted in Chinese. A copy of Wang's business card is attached to this entry. Note that the resume is assumed to be composed in 1995 given the due date for this file's submission and the last activity listed in the resume. (Jerry Wu'23).
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Exhibition Document: WANG Qiang
Qiang WANG 王强
Qiang WANG
As one of the participants, the artist joined the Proposal Art that was titled "45 Degree as a Reason" in 1995 in China. Wang Qiang's proposal has been carried out and is printed in color on page 1. Written in Chinese and English, a brief description of the artist’s idea on “TWINS OF INSIGNIFICANT BLANKNESS”(两个相等的无意义的空白?) is printed on the left. On page 2, the artist illustrates his plan on the proposal (see additional file below). To the left, there is a graph showing a frame made by ropes that is floating in flowing water, and the right one shows a wooden frame floating on the water. (Yifan Shang 25')
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Brief explanation of installation of Neighborhood 邻里装置艺术的简要说明
Sui-Kang ZHAO 赵穗康
Sui-Kang ZHAO 赵穗康
This is a printed explanation of Neighborhood, an installation created in 1995. Neighborhood is a recreation of a previous work of the artist, A Night Cerebration of Cultural Wars. There is a link of the image and description of A Night Cerebration of Cultural Wars: https://digital.kenyon.edu/zhou/371/. (He Zhang 25')
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Review: In a Room of His Own: The Art of Xu Lei
Lei XU 徐累
Jeffrey Hantover
This review was written by Jeffrey Hantover, an art critic and a published poet from the U.S., in January, 1995. It discusses Xu Lei’s artistic style by examining the detailed art elements in his paintings, analyzing the historical and cultural context, and relating his work with western literature figures like "Mr. Cotigo". The reviewer tries to convey that the emptiness and stillness in Xu’s work is good for thinking, as well as showing a sense of sadness after traumatic events happened in contemporary China like the June. 4th Incident. Xu chooses to “turn his back on the world around him” and embraces the past. His work offers a world of quiet, solitude and stoicism, thus revealing his intention of “painting everyday lives with compassion” according to Hantover. (Yifan Shang ‘25)
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Au bord de l'eau, 108 brigands (At the water's edge, 108 brigands)
Pei-Ming YAN 严培明
Pei-Ming Yan 严培明
The book "Au bord de l’eau, 108 brigands” is written in French and contains images of 120 large-scale, black-and-white portraits painted by Yan Pei-Ming, a Chinese artist who has lived and worked in France since 1981. The book is published by the Pays de la Loire Regional Contemporary Art Fund (FRAC), operating from the Museum Leon Dierx in Saint-Denis, Réunion Island, a department of France in the Indian Ocean. Yan’s portraits reference the Chinese literary classic “Au bord de l’eau” (at the water’s edge), an epic novel told in 120 chapters depicting the crimes committed by 108 brigands. This oeuvre of paintings was executed during Ming (Yan is his family name) ’s stay at the French Academy in Rome (Villa Médicis) in 1993. The portraits of 108 brigands are depictions of people he has seen or met at Villa Médicis, including friends, acquaintances, and often himself. The artist has spoken of creating anti-portraits or “anonymous portraits” – portraits that are supposed to look like no one in particular at all (we usually say "unidentifiable"), representing the average person. “But most impressive and significant is that Ming (Yan is family name), in constructing his “pantheon”, revealed remarkable insight into the dialect between the “portrait” and the “anti-portrait”, shedding light on urgent and complex questions relating to the art and life, history and reality, cultural differences and exchanges”. “It is true that the characters in this series are individuals that Ming (Yan) himself knew and met. However, the “reality” of their portraits, once subjected to the definition of the “brigands”, becomes almost fictitious, if not legendary” (Hou Hanru, 18). The book includes a series of introductions. First, a preface by Ponthus Hulten, a Swedish art collector and museum director. Then, “Le Chinois” (The Chinese) by author Michel Enrici, which is followed by an introduction titled “L’anti-portait de Ming” (The Anti-Portrait by Ming) by Chinese art curator and critic, Hou Hanru. Finally the series concludes with “Le brigand collectif” (The brigand collection) by art historian Florens Deuchler. Additional Sources: Hanru, Hou. “L’anti-Portrait de Ming.” Au Bord de l’eau, 108 Brigands , Fonds Régional d’art Contemporain Des Pays de La Loire, Nantes, Musée Léon Dierx, Saint-Denis de La Réunion, 1995, pp. 15–19. https://www.estuaire.info/en/oeuvre/108-brigands-yan-pei-ming/ (Nicole Wang ‘26)
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Resume: Yang Jun 杨君
Jun YANG 杨君
This is Yang Jun's resume from the 1995 New Asian Art Show. His brief educational background and exhibition experience up until 1995 are on the left side of this paper, while one of his collage of photos is on the right. (Zhuocheng Jiang '26)
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A STORY OF TWO AND A HALF WEEKS MODERN ART EXHIBITION OF YANG KEQIN
Ke-Qin YANG 杨克勤
Yang Ke-Qin
This pamphlet is an invitation to Yang Ke-Qin's solo exhibit "Story of Two and a Half Weeks". The pamphlet includes 'Words of the Artist', the artist's resume, an English translation of her resume, and preview images of paintings shown in the exhibit. In the English translation of the artist's resume. the translator mistakenly translates “水龙头系列三” and "水龙头系列之七" into "Water Pipes, No. 3". and "Water Pipes, No.7". This is incorrect. The correct translations are "Faucet, Series 3" and "Faucet, Series 7". “龙头”, meaning faucet, directly translates into English as "lion head". (Nicole Wang '26).
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雄狮美术 ( "Review on the 'Exhibition of Yang Ke-qin Oil Painting)
Ke-Qin YANG 杨克勤
This article is a review on the show of artist Yang Ke-Qin's oil painting, by Heng Yong-Ban published on "Hsiung Shih Art Monthly," issue 287, Jan. 1995, Taipei. See the work "Bottles" at : https://digital.kenyon.edu/zhou/456/, "Faucet painting 2" at : https://digital.kenyon.edu/zhou/450/ (Nicole Wang '26)
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Interview with Yuan
Shun Yuan 袁顺
Interviewer: Alexander Tolnay
This interview was conducted by Dr. Alexander Tolnay . Here, he questions Yuan Shun about his artistic inspirations and creative choices. Referencing the artist's works such as "Denkmal der Stadt" (City Monument), "Der Verbotene Stadt" (The Forbidden City), 'Thinking about yourself", 'The Trinity" and others, the pair discuss Yuan's use of hair in his artworks, growing up in the transitional period following the Cultural Revolution, Tiananmen Square, immigrating to Europe, and Buddhism. Throughout the interview, Yuan describes how his multicultural identity influences his creative process and recent projects. (Nicole Wang '26).
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Behind Masks: Zeng Fanzhi
Fan-Zhi ZENG 曾梵志
This is a catalog published by Hanart T Z Gallery in 1995. It consists of three articles by Chang Tsong-zung, Li Xianting, and Pi Daojian respectively, in both Chinese and English. The artist's works of the early 1990s are published, including the Hospital Triptych, the Mask Series, and others. A biography of the artist is on the last page (Zhuocheng Jiang '26)
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A Review of Zhan Wang's New Works
Wang ZHAN 展望
Jian-Tao Jiang
Jiang Jiantao wrote this essay about Zhan Wang in Chinese, published in "Art Research," issue 1, 1995, and an English translation as included in the document. The author discusses Zhan Wang's "Kong Ling· Kong" (literally mean "ethereal: void") exhibition, held from May 19th to May 23rd, 1994, at the Central Academy of Fine Arts Museum. The author begins to illustrate the structure of the show. The artists created eighteen pieces of floating clothes, which appear being worn but the bodies are absent. The author emphasized the exhibition's significance in terms of modern human life. Then it was discussed how the artist is inspired by different artists, from a variety of time periods and cultures, and how the artist injects his own artistic language and aspiration into his works. (Zhuocheng Jiang '26)
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L'Asie Disjoncté Enfin! Asia finally unhinged!
Wang ZHAN 展望
This brief report, in French, introduced several Chinese Contemporary Artists in 1995, which includes Gu Wenda, Wu Shanzhuan, Huang Yongping, and Zhan Wang. Specifically, this report covers Zhan Wang's work, "94 Ruins Cleaning Plan". For further details, please refer to https://digital.kenyon.edu/zhou/520/. (Zhuocheng Jiang '26)
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A Significant Turn- on "Sculpture 1994" Show 重要的转折- 关于雕塑家1994系列个人作品展
Wang ZHAN 展望
YIN Shuang-Xi
This review by Yin Shuangxi covered the show "Sculpture 1994", which is a group show with five sculptors. Zhan Wang was one of them. The authors discussed Zhan Wang's piece, Kong Ling· Kong" (literally means "ethereal: void") and analyzed the aesthetics and philosophical thinking embodied within. Then, the author went from discussion of specific pieces to general conditions of Chinese sculpture conditions and the problems that sculptors were facing. (Zhuocheng Jiang '26)
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As the Text of Artistic Communication- Avant-Garde Artists who Get out of An Embarrassed Situation作为艺术交流的文本-摆脱尴尬境地的前卫艺术家
Wang ZHAN 展望
Huang Du
This review written by Huang Du mainly discussed one innovative a phenomenon in the 90s, Proposal art, as known as "text" in Huang's words review. Because of S social and political force majeure, artists had a hard time implementing performance, action, and or installation art. Therefore, artists divorced found a new approach around, which is , that is p Proposal a Art. The text becomes the medium a for artists to express articulate and exchange their ideas, but merely conceptual, not much actual work has been done. Zhan Wang's "94 Ruin Cleaning Project 94" is an exception. For details, please refer to https://digital.kenyon.edu/zhou/520/. Overall, Proposal Art or text leaves artists a space for conceptual communication and appreciation at a special time. See discussion on "Proposal Art" in Zhou Yan's "A History of Contemporary Chinese Art: 1949 to Present," pp. 307-308. (Zhuocheng Jiang '26)
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Calendar: Zhao Bandi & Zhang Qianqian
Ban-di ZHAO 赵半狄
This is the front page from the 1996 wall calendar, published by China Today, Beijing. The photograph in the center shows a frontal image of the artist holding a panda in his arms, while Zhang Qianqian, a singer, actress, model, painter and writer, stands in profile and looks at them. Zhang is wearing a white pajama. She has short hair and some makeup on. The artist is in a blue woman pajamas, exposing his upper-torso, with shoulder-length hair. An ambiguity in gender is suggested through this image. These figures are framed by an oval wreath, made of pink roses and leaves. The work may reveal a mock attitude on kitsch in the 1990s. (Yifan Shang ’25)
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